poetry series teachers’ guide · david elliott poetry series • teachers’ guide • • page 2...

Poetry Series Teachers’ Guide

In the Sea

illustrated by Holly Meade

HC: 978-0-7636-4498-7

PB: 978-0-7636-7050-4

In the Past

illustrated by Matthew Trueman

HC: 978-0-7636-6073-4

On the Farm


HC: 978-0-7636-3322-6

PB: 978-0-7636-5591-4In the Wild


HC: 978-0-7636-4497-0

PB: 978-0-7636-6337-7

On the Wing

illustrated by Becca Stadtlander

HC: 978-0-7636-5324-8

PB: 978-0-7636-9302-2

About This GuideThis guide consists of discussion questions and classroom extension activities that can be used when reading, teaching,

or discussing David Elliott’s poetry series. The poems in this series help readers to think about language components such as similes, metaphors, personification, and grammar as well as science, math, and art connections.

David Elliott Poetry Series • Teachers’ Guide • www.candlewick.com • page 2

Common Core Connections

Aligned to Common Core State Standards for grades 1–4, this guide can be used as a learning resource in classrooms, at libraries, for book events, or by parents to extend and reinforce the educational aspects of reading David Elliott’s poetry series. Specific Common Core State Standards in language arts and math as well as Next Generation Science Standards are listed at the back.

ABOUT THE SERIESIn this five-book poetry series, New York Times best-selling author David Elliott leads his readers to discover the remarkable beauty and wonder of animals in the sea, in the wild, on the farm, in the sky, and from the past. Through graceful, lyrical, and often witty text, Elliott examines the behaviors of nature’s creatures and their interactions with the world in which they live. Holly Meade’s stunning woodcut prints and watercolors, Becca Stadtlander’s lavish art in gouache and black ink, and Matthew Trueman’s bold, textured mixed media bring Elliott’s words to life on each page.

ABOUT THE AUTHOR

Matthew Trueman grew up in Friuli Venezia Giulia, forty-five minutes north of Venice in northern Italy. He returned to the United States to attend the Ringling College of Art and Design and graduated with a BFA in illustration. He works from a studio in his home by the Delaware River, where he lives with his wife, Anna, a sommelier, book artist, and printmaker, and their daughter, Mina.

ABOUT THE ILLUSTRATORS

David Elliott is a New York Times best-selling children’s author. His many books include And Here’s to You!, Finn Throws a Fit!, Baabwaa and Wooliam, and this acclaimed poetry series. Born in Ohio, he has worked as a singer, a cucumber washer, a Popsicle stick maker, and a teacher. David Elliott lives in New Hampshire with his wife and their Dandie Dinmont terrier.

Holly Meade (1956–2013) graduated from Rhode Island School of Design and worked as an art teacher and graphic designer before embarking on a career illustrating nearly thirty children’s books. A longtime New Englander, she drew much inspiration from the natural world around her home in coastal Maine.

Becca Stadtlander is a freelance illustrator and fine artist inspired by the beauty of everyday objects, the comforts of home, and the lush colors and landscapes of far-off places. She earned a BFA from the Maryland Institute College of Art and currently lives and works in her hometown of Covington, Kentucky. Her work is featured on stationery and home decor, in editorial publications, and in young adult and children’s books.


DISCUSSION QUESTIONS 1. Building Background: Before and After Poetry Assessment

Ask students to respond both before and after reading the books of poetry using the Building Background worksheet at the end of this guide. Discuss how their answers changed after experiencing the poems in the series.

2. Text and Illustrations Supporting Comprehension

Look at all five books together. Discuss the different creative styles of the three illustrators. Ask the following questions:

How does each illustrator add to the content of the poems?

Are there any poems that you think may have been better captured by the style of one of the other illustrators in the series? Which ones and why?

Which is your favorite book in the series? Why? Within your favorite book, which is your favorite poem? Why?

3. Sensory Language and Feelings in Poetry

Poems are often written to evoke feelings in the reader. Have students read through the poems, then discuss the following questions:

What do the poems make you feel? Which ones feel light and whimsical? Which ones have a feeling of power and strength? Do any fill you with peace and serenity? Terror? Discuss why and how the author and illustrators are able to accomplish these effects.

4. Illustrations Supporting Text for Deeper Comprehension

Have students take notes and examine how the illustrations and text layout relate to the content of the poems. Discuss the following questions:

What do you notice about the relationship between the size of the illustrations and the size of the animal being described in the text? Do they match? (For example, in the book In the Sea, illustrator Holly Meade allowed for three full pages of illustration for the blue whale, yet four of the smallest sea creatures — the urchin, the sardine, the mackerel, and the shrimp — share a single spread. In In the Past, illustrator Matthew Trueman used two-page spreads to depict most of the dinosaurs described in the text.)

What do you notice about how the amount and layout of text varies based on the animal the poem is describing? (For example, in “The Hummingbird” in On the Wing, the text flits back and forth and up and down on the page instead of reading from left to right in a straight line. In In the Past, the poem “Eoraptor” uses a skinny layout with very small words stacked upon one another to mimic the size and shape of the dinosaur itself.)

What do you notice about the color palettes the illustrators used? (For example, in the book In the Past, illustrator Matthew Trueman used a mostly dark palette of green, brown, and black, whereas for On the Wing, Becca Stadtlander used a somewhat lighter color palette featuring pastels.)

Why do you think the author and illustrators made these choices? How do they help the reader understand the animals in the poems?

Encourage students to find other examples of illustrations and text working together to bring the animal to life for the reader.

David Elliott Poetry Series • Teachers’ Guide • www.candlewick.com • page 4Illustration © 2014 by Becca Stadtlander

ENGLISH LANGUAGE ARTS

WONDERFUL WORDSDavid Elliott’s poetry series brims with rich vocabulary. Have students work in teams or pairs to find the words below in the poems. Can they use context clues and the illustrations to identify the meaning of each word? Encourage them to use the words in their own sentences or poems. What mood does each word evoke for them?

In the Sea

acrobat

anemone

apparition

belligerent

briny

brutal

carapace

chanty

dainty

elegant

fin

fluke

jester

sheath

In the Wild

affection

bouquets

floe

gait

glistens

lair

mane

ordinary

piebald

plain

preposterous

prestidigitation

rosettes

stilt

temper

On the Farm

clover

coils

coy

delicate

fossil

grazing

melody

ringlet

sheen

sow

struts

trillium

utterly

whinnies

On the Wing

ancient

bower

cacophony

columns

confidence

conflagration

cowers

cowl

cunning

duet

ember

empires

flutter

ignite

majestic

multitude

pouch

refrain

reputation

schooners

slouch

suburban

symbol

tizzy

tokens

unique

untethered

vocalist

In the Past

armored

carnivore

compassion

deceptive

delirium

girth

habitat

herbivore

immense

indigestion

mercy

nomenclature

receptive

renounce

tolerance

unrepentant

vanquished

David Elliott Poetry Series • Teachers’ Guide • www.candlewick.com • page 5Illustration © 2014 by Holly Meade

Figurative LanguageThe poems in this series are full of figurative language. Using any of the books in the series and the worksheet provided at the end of this guide, encourage students to identify figurative language techniques such as similes, metaphors, alliteration, rhyme, and personification.

Definitions and Examples from Each Book

Examples:

“it’s dainty as a wish” from “The Sea Horse,” In the Sea

“As solid as a rock, as colorful as heather” from “Coral,” In the Sea

“as gentle as a lamb” from “The Sheep,” On the Farm

“As coy as a ringlet” from “The Pig,” On the Farm

“Coils in the garden like a spring” from “The Snake,” On the Farm

“delicate as lace” and “the Elephant is so much like a cloud” from “The Elephant,” In the Wild

“he circles like a prayer” from “The Bald Eagle,” On the Wing

“Like a centipede” from “Arthropleura,” In the Past

Examples:

“No ghost, but a magician” from “The Octopus,” In the Sea

“He’s the jester of the briny deep, an acrobat with fins” from “The Dolphin,” In the Sea

“A sword without its sheath, a dragon in its cave” from “The Moray Eel,” In the Sea

“Stilt-walker! Tree-topper! Long-necked show-stopper” from “The Giraffe,” In the Wild

“You’re a bamboo bandit” from “The Panda,” In the Wild

“an ember waiting to ignite” from “The Caribbean Flamingo,” On the Wing

“Oriole is vocalist. Woodpecker is drummer” from “The Oriole and the Woodpecker,” On the Wing

“He’s a hotshot valentine” from “The Cardinal,” On the Wing

“One of Nature’s little jokes” from “Eoraptor,” In the Past

Simile: a figure of speech in which a comparison of two unlike objects or ideas is made using the word like or as

Metaphor: a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable


Alliteration: the occurrence of the same letter or sound at the beginning of adjacent or closely connected words

Personification: the attribution of a personal nature or human characteristics to something nonhuman, or the representation of an abstract quality in human formwords

Rhyme: correspondence of sound between words or the endings of words. All the poems in David Elliott’s poetry series feature rhyme.

Examples:

“See the sea horse in the sea” from “The Sea Horse,” In the Sea

“All fluke and fin and fountain” from “The Blue Whale,” In the Sea

“Whinnies in the wind” from “The Pony,” On the Farm

“from trash to trillium” from “The Goat,” On the Farm

“the wild and winding melody” from “The Snake,” On the Farm

“cows and corn” from “The Bull,” On the Farm

“a soundless step that warns” from “The Jaguar,” In the Wild

“from floe to floe” from “The Polar Bear,” In the Wild

“Your cunning and your confidence” from “The Crow,” On the Wing

“The biggest bill of any bird” from “The Australian Pelican,” On the Wing

“How the timid must have trembled” from “Quetzalcoatlus,” In the Past

“Here, kitty, kitty, kitty” from “Smilodon,” In the Past

Examples:

“in your black-and-white tuxedo” from “The Orca,” In the Sea

“I see a beauty queen” from “The Pig,” On the Farm

“he hears but cannot sing” from “The Snake,” On the Farm

“Tell their story” from “The Bees,” On the Farm

“The moon looks down” from “The Wolf,” In the Wild

“the cranes are dancing, dancing on the snow” from “The Japanese Crane,” On the Wing

“Night slips on his velvet cowl” from “The Great Horned Owl,” On the Wing

“Curious? Bored? Or desperate for the warm sun on your armored back?” from “Eurypterus,” In the Past

“Your face—the unhappy result of indigestion?” from “Dunkleosteus,” In the Past

“your memory is good” from “Mammuthus,” In the Past


Onomatopoeia: the formation of a word from a sound associated with what is named (e.g., cuckoo, sizzle)

Wordplay: the witty exploitation of the meanings and ambiguities of words, especially in puns

Examples:

“Gotta lotta zing!” from “Anemones,” In the Sea

“BAM!” from “The Sheep,” On the Farm

“Quacks! . . . Squawks! . . . Honks!” from “The Duck,” On the Farm

“Boing! Boing! Boing!” from “The Kangaroo,” In the Wild

“Ahooooo!” from “The Wolf,” In the Wild

“pure caw-caw-phony” from “The Crow,” On the Wing

“Who? Who? Who? Who?” from “The Great Horned Owl,” On the Wing

“chips from the branch but wants to roar” from “The Sparrow,” On the Wing

Examples:

“See the sea horse in the sea” from “The Sea Horse,” In the Sea

“Is not an enemy of anemone” from“The Clown Fish,” In the Sea

“She’s utterly amazing!” from “The Cow,” On the Farm

“He has his pride” from “The Lion,” In the Wild

“Antelope is always first and Zebra always last” from “The Zebra,” In the Wild

“Beware of jungle-raised bouquets. Beware these hidden thorns” from “The Jaguar,” In the Wild

“someone like you sitting in our family tree” from “The Orangutan,” In the Wild

“your singing voice, my friend, is pure caw-caw-phony” from “The Crow,” On the Wing


Writing: An Animal PoemAfter the students have explored poems that feature examples of the figurative language being studied, have them each choose an animal (supply them with a list and/or photos of animals to choose from). Using the worksheet provided at the back of this guide, have them write a line or an entire poem using the form of figurative language chosen and then illustrate their work.

Comparing and Contrasting TextsFind examples of nonfiction texts that match the animals in the poetry books. Have students compare and contrast the information found in both. How are they similar? How are they different? What style of writing do they prefer when learning about animals? Why?

Examples:

In the Sea: Have students compare the poem “The Sea Turtle” found in In the Sea to the nonfiction book One Tiny Turtle by Nicola Davies and illustrated by Jane Chapman. What facts do they learn in the nine-line poem? How are some of those same facts conveyed in One Tiny Turtle? Have students use a new fact from the nonfiction text to write a line of rhyming poetry that could be added to Elliott’s poem.

Suggestions for poem and text comparisons:

“The Blue Whale,” In the Sea Big Blue Whale by Nicola Davies, illustrated by Nick Maland

“The Pony,” On the Farm A Field Full of Horses by Peter Hansard, illustrated by Kenneth Lilly

“The Pig,” On the Farm All Pigs Are Beautiful by Dick King-Smith, illustrated by Anita Jeram

“Tiger,” In the Wild Can We Save the Tiger? by Martin Jenkins, illustrated by Vicky White

“Kangaroo,” In the Wild Big Red Kangaroo by Claire Saxby, illustrated by Graham Byrne

“The Bowerbird,” On the Wing And So They Build by Bert Kitchen

“Tyrannosaurus rex,” In the Past T. Rex by Vivian French, illustrated by Alison Bartlett

Grammar Extension: Adjective Mix and MatchThe poems in the series are rich with adjectives: dainty, brutal, spiny, peaceful, angry, delicate, hairy, etc. Working with one of the books as a focus, write the adjectives found in the poems on index cards. Then write the names of the animals on index cards. Let the students mix and match the adjectives with the animals. Do the adjectives and nouns (animals) work together in each pairing? Why? What happens when the wrong word is used to describe a noun? Discuss the importance of word choice when writing.

Grammar Extension: Going on a Verb HuntDavid Elliott has used many powerful verbs in his animal poems. Using the worksheet at the end of this guide, have students go on a verb hunt in the poetry books. As with the adjective activity, write the verbs in each poem in one book on index cards and list the animals on separate index cards. Let students put them together in new ways. What happens to the poem when the verbs are attached to different animals? How do they change the writing? Again, discuss the importance of word choice and using rich, decisive words when writing.

David Elliott Poetry Series • Teachers’ Guide • www.candlewick.com • page 9Illustration © 2018 by Matthew Trueman

SPEAKING AND LISTENING SKILLS

Have students read their favorite poems aloud. Record their readings and let them listen to the recordings. What do they notice about their readings? Are they paying attention to punctuation in the poem? Adding enough or too little expression? Do they feel the poem when they are reading out loud?

SCIENCE

ANIMAL FACTSThe poems in this series weave in facts about animals in concise, vivid language. Have students use the worksheet at the end of this guide to record some of the facts they find in the poems.

HABITAT MATCHING GAMEIdentify specific habitats of the animals in one of the books. For example, in In the Sea, specific habitats include under rocks, in caves, on the sandy beach, and in the coral reef. Put the names of the animals and their habitats on individual index cards. Can the students match them? Can they think of other animals that would also live in those habitats?

COMPARING AND CONTRASTING ANIMALSCompare and contrast two animals within one of the books. Begin with the poems: what facts does each poem tell you about each animal? Divide the class into two groups. Have each group research various facts about each chosen animal. What makes the animals similar? What makes them different?

Suggestions from the books:

In the Sea The octopus and the giant squid

The orca and the blue whale

The clown fish and the puffer fish

The sardine and the shrimp

In the Wild The lion and the jaguar

The jaguar and the tiger

The sloth and the orangutan

The panda and the polar bear

On the Farm The turtle and the rabbit

The cow and the bull

The sheep and the goat

The goat and the pig

On the Wing The crow and the bowerbird

The Australian pelican and the puffin

The Andean condor and the bald eagle

In the Past Meganeura and Quetzalcoatlus

Dimetrodon and Tyrannosaurus rex

Dilophosaurus and Stegosaurus


MATH

COMPARING AND CONTRASTING NUMBERS / RANGE, MEDIAN, AND MODEHave each student research the life expectancy of a different animal from the books. Which animal has the longest life expectancy? The shortest? Put the animals in order from the shortest to longest life expectancy. Figure out the range, median, and mode of the life expectancies.

LONG NUMBERSLook at the eras highlighted in In the Past. Write out each era and period as a standard number. How many zeros does each era and period need? Write the numbers in word form.

MEASUREMENTResearch the length and/or height of some of the animals that appear in the poems. Which are the largest and which are the smallest? Choose animals that would fit in your room and, using measuring tools (rulers, yardsticks, or tape measures), represent the length of each animal by laying masking tape on the floor. Have students find other objects in the classroom that are the same length. How do the animals’ lengths or heights compare to the students’? Create a graph showing their findings.


ART

WOODBLOCK PRINTINGHolly Meade illustrated three books in David Elliott’s poetry series. She used a woodblock printing technique to create her illustrations. Have students look carefully at each illustration. What do they notice about them? Then have students create their own woodblock stamps. Give each child a 4x4-inch square of foam paper (found in arts and craft stores). Have them sketch out a design on plain paper first, then push the image into the foam sheet using the end of a pen (not the writing tip). The pressure from the pen will cause the foam to indent. Any area they indent will be white on their finished image — they are essentially creating an outline of what they want to print. Have students mount the 4x4-inch foam square onto a wooden block, dip the foam into a thin layer of paint or an ink pad, and stamp it onto paper. When the stamped image is dry, students can add accent colors using watercolors and a paintbrush.

ILLUSTRATOR WEBSITESHave students visit the websites of Becca Stadtlander (www.beccastadtlander.com) and Matthew Trueman (www.new-work.com/mtthumb.htm) and view other works that each illustrator has created. How are they similar to or different from the artwork in the poetry books?

DRAMA

Have each student choose their favorite poem and create a costume or props to help showcase the animal in the poem. Then they can read the poems aloud to the class while using their costumes and props as visual aids. Record their performances.


The discussion questions and activities in this guide address the following Common Core State Standards in language arts and math and Next Generation Science Standards for grades 1–4.Common Core State Standards for Reading: LiteratureRL 1.1, 1.4, 2.4, 3.6, 4.4–5, and 4.9Common Core State Standards for Reading: Informational TextRI 1.1–4, 2.1, 2.4, 2.7, 2.9, 3.7, and 4.7Common Core State Standards for Reading: Foundational SkillsRF 1.4, 2.4, 3.4, and 4.4Common Core State Standards for WritingW 1.2–5,1.7, 2.2–4, 2.7, 3.2–4, 3.7, and 4.2–3Common Core State Standards for Speaking and ListeningSL 1.1–2, 1.5, 2.1–2, 2.5, 3.1, 3.5–6, 4.1, and 4.5Common Core State Standards for MathematicsCovers Standards in Measurement & Data and Number & Operations in Base Ten Domains (Grades 1–6)Next Generation Science StandardsLife Science Standards in Grades 1–4

The discussion questions and activities in this guide address the following Common Core State Standards in language arts and math and Next Generation Science Standards for grades 1–4.

Common Core State Standards for Reading: Literature

RL 1.1, 1.4, 2.4, 3.6, 4.4–5, and 4.9

Common Core State Standards for Reading: Informational Text

RI 1.1–4, 2.1, 2.4, 2.7, 2.9, 3.7, and 4.7

Common Core State Standards for Reading: Foundational Skills

RF 1.4, 2.4, 3.4, and 4.4

Common Core State Standards for Writing

W 1.2–5,1.7, 2.2–4, 2.7, 3.2–4, 3.7, and 4.2–3

Common Core State Standards for Speaking and Listening

SL 1.1–2, 1.5, 2.1–2, 2.5, 3.1, 3.5–6, 4.1, and 4.5

Common Core State Standards for Language

L 1.1–2, 1.4–5, 2.1–6, 3.1–5, 4.1–2, and 4.5

Common Core State Standards for Mathematics

Covers Standards in Measurement & Data and Number & Operations in Base Ten Domains (Grades 1–6)

Next Generation Science Standards

Life Science Standards in Grades 1–4

This guide was prepared by Michelle Gajda, an elementary school teacher, reading specialist, and recipient of a Massachusetts Reading Association Sylvia D. Brown Scholarship for action research in the field of literacy.

Name:


Building Background: Before and After Poetry AssessmentAnswer the questions below both before and after reading David Elliott’s poetry

series. Then compare the two columns to see how your answers changed.

QuestionWhat do you know about

poetry and poems?

Do you like to read poems?

Why?

How is a poem different

from a fictional story?

How is a poem different

from a nonfiction story?

What is your favorite figura-

tive language device used

by a poet and why?

Do you like to write poetry?

Why?

Before Reading After Reading

Name:


Figurative LanguageLook through one of the books in David Elliott’s poetry series and

find examples of the figurative language devices listed below.

Book:

SimilePoem:

Example:

Poem:

Example:

Poem:

Poem:

Example:

Example:

Poem:

Example:

Poem:

Example:

Poem:

Example:

Metaphor

Alliteration

Rhyme

Personification

Onomatopoeia

Wordplay

Name:


An Animal PoemWrite a poem about an animal using at least one or two figurative language devices.

Illustrate your poem. Remember to think about how your illustration can help reveal

something about your animal and match the text in your poem.

Animal I am writing about:

Title:

Name:

David Elliott Poetry Series • Teachers’ Guide • www.candlewick.com • page 16Illustration © 2014 by Rebecca Stadtlander

Going on a Verb HuntSearch through each poem in one of David Elliott’s poetry books and record the

verbs. Remember that a verb is a word used to describe the action of the subject.

Book:

Poem Verb (Action) Animal Doing the Action

Name:


One

Two

Three

Four

Book:

Book:

Book:

Book:

What is the most interesting fact you discovered? Why?

Poem:

Poem:

Poem:

Poem:

Fact:

Fact:

Fact:

Fact:

Animal FactsLook through the books in David Elliott’s poetry series. Facts about many of the

animals have been cleverly woven into the poems. Find examples and record

them below.

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